The Cavatina from "Il Barbiere," sung by Miss Geraldine Farrar, will interest those in Melrose who were not able to attend the recital. For many months musical people have waited the gradual development of this phenomenal voice, a God-given power which the child has sent forth with a freedom, compass, and quality that has demanded the admiration of our best Boston critics. Notwithstanding the florid and extreme difficulties of the Cavatina, the execution and reserved force, absolutely fresh and firm for each attack, was a triumph and a revelation of tone power. She sang without notes, and embraced the beautiful flowers showered upon her, as unconscious of her success as though she had stood among her mates and told a simple story. With hopeful anticipation, her many loving friends will follow her future which seems already unfolding, and as the child glides to womanhood, our little twinkling star may rise by and by from dear Melrose, and become resplendent in the musical firmament, where all the world will love to listen and do her homage. The first flowers sent to me at this recital, carefully dried and pressed, are still one of my dearest souvenirs; and I also treasure carefully the first card of good wishes sent to me on that occasion. It bears the carefully engraved name of "Mr. John E. Pilling," and underneath is written: "May success always attend you." I hope Mr. Pilling, if he ever sees these lines, will accept the long-deferred thanks of the little Melrose girl to whom he sent such an encouraging message. In my last year of study under Mrs. Long I reveled for the first time in the joys of grand opera. That winter in Boston, the Castle Square Opera Company, an excellent organization managed by Henry W. Savage, was presenting grand opera in English at the old Castle Square Theater. The leading singers were J. K. Murray and his wife, Clara Lane. I became a subscriber to this excellent company's performances on Wednesday matinees. To me these matinees were meat and drink; all performances were well supported by music-lovers in the vicinity. It was Clara Lane whom I first heard sing "Carmen," a role which has recently figured so successfully in my own repertoire at the Metropolitan in New York. During these enjoyable weeks I heard this company sing most of the grand opera repertoire, in English, and I was thrilled and fascinated. [Illustration: JEAN DE RESZKE]